Wednesday, March 27, 2013

Less is more (or, Let your fingers do the walking . . . )


October 15, 2009

I've been in a weird mood the past three months. A wee bit grouchy, feeling a lot of stress, perhaps have been a bit curt, short, or otherwise abrasive with people. Three days before our wedding anniversary (which is the same day as the Feast Day of San Lorenzo and the Pueblo Revolt in New Mexico in 1680), the MCAT got some bad news. My life now revolves around three things: taking care of the MCAT until her recovery is complete, taking care of the house/yard and dog, and keeping my head above water in my musicology studies and teaching duties this quarter.



As much as we wanted it to, the world and time did not stand still while we started running the gauntlet through the treatment and recovery. I still had other things to do, such as play a concert with the gang in Seattle. The concert meant that I had to practice and prepare, write program notes AND a pre-concert talk/lecture-demo sort of thing (piece o' cake; "no problem, Mr. Binkley").



I started doing what needed to be done in order to meet my own personal standard for public performance. I was working on fumes, not fuel, emotionally and physically. Yes, I have been working out in earnest since the anniversary, yes, I enjoy practicing and getting ready for a concert, and I love playing concerts. But the MCAT is/was foremost on my mind.  As mentioned above, there was a bit of a grouchiness factor to the rehearsals for the concert, and I just did not feel in a compromising, collaborative mood. I had made up my mind on how I wanted things done and I just did it that way and didn't care if there was any resistance.



Speaking of resistance, there is nothing like exchanging a bunch of cheesy movie dialogue with friends to demonstrate the rhetorical principles of Geoffrey de Vinsauf ("How are you going to land on Venus using fractions?").  It took a Taurean attitude and effort to make me realize that resistance, is, in fact, futile in certain circumstances. No matter how resistant I was to my situation, and no matter how much I tried to control my pre-concert environment, things were going to be the way they were going to be and I was not the entity to control them.



I let go. I was just going to play. Lean back, stand up straight, and not force the music or musical issues. It was going to be a standing meditation while playing the flute in a public concert. From the first conscious thought of letting go to the actual release of my illusion of control and authority over the musical situation, there was more music coming out through less effort. I consciously said to myself during the concert, "let go; just play, your body knows what to do, the rest of you is unimportant." It was one of the most relaxing experiences in my life, to stand there and make a conscious decision to do as little as possible, physically. I video taped the concert and watched it about two weeks after the event. The person playing flute looks much taller than the same person in the same concert series a year earlier. The earlier incarnation is very intense, and had to play something that comes in at around 168 for the quarter note. Pretty fast stuff, and watching that video recording you can see the effort being put forth.  In the most recent concert there were several passages of intense technical work, but on the video looks (and it felt) as if the player is doing nothing.



I checked my grouchiness at the door, along with a couple of steamer trunks worth of emotional baggage for the concert, and it was pure musical joy. My body was doing as little as physically needed, and a tremendous amount of music was realized, including by the other players. Doing nothing was, apparently, infectious and stimulating to others. Who knew?



Now during my practice when I notice that something is bogging down or that I'm just pushing too hard, I put myself back in the "resistance if futile" attitude and just let the music happen.



Did I mention that the concert was incredibly fun and relaxing at the same time?











Monday, July 23, 2012

Baroque Flute Meditation

Have I mentioned how easy it is to transport yourself to a calm state of mind by practicing long tones?

Pick a note, any note, preferably one from the middle register of the flute, take a relaxed breath, and start playing. Count to ten while playing this note. Play it a few times, trying not to think about its quality. Focus instead on the breathing and blowing ("Breathing in, I calm my body; breathing out, I smile;" or "I count to ten"). After a few times on this note, go to the next note, 1/2 step away, higher or lower. It doesn't matter. What matters is maintaining the calm feeling of breathing in and blowing out. Calming, to be sure, but energizing at the same time. The essence of Baroque flute playing, at least for me, is exactly this contrast of energies. Soft fingers, calm mind, intense musical energy, sharply focused breathing and blowing. Move quickly, don't hurry. Deliberate, organized practice will set you free, musically.

Long tone practice is not drudgery, It is the core or your flute playing. It is the path to good tone, secure intonation, stamina to play an entire recital, and the control of your instrument in the event that your mind temporarily wigs out when you realize everyone out there is listening to you (and ENJOYING what they hear; remember that).

Long tones are your friends.

Long tones. Not just a good idea, it's the law.

Feel free to visit older posts on this blog regarding practice, long tones, and more long tones.

The 20-minute workout

20-minute workout testimonial

Long tones

Practice techniques



Monday, July 16, 2012

It Herz So Good (or, the Baroque Flute Low Down)

And by low down I don't mean a song by Boz Scaggs from the 1970s. . .

No, I'm talking about one of my favorite things about playing Baroque flute. The ability to play at 392 cycles per second.

With this in mind, I draw your attention to the BFBC XIV schedule, particularly on Monday night. IF you have an instrument (or two or three) that plays at a=392 Hz, please try to find room in your luggage to bring it/them along. We should be able to do this, or, at the very least, have a system of alternating players so that everyone gets the opportunity to play in a flute ensemble at this pitch.

Kathie will likely have at least two flutes at this pitch. If you are bringing 392 instruments to the boot camp, please let everyone know through the wiki.

Have fun playing in the deep end!


Tuesday, July 10, 2012

Baroque Flute Festival (or, time to make some more observations)

Hello Everyone,

Instead of Practice Pieces of the Week, I present here some videos of people playing Baroque flute. As with the earlier posts of this nature, found here and here, please feel free to discuss your observations here on the blog or over on the Boot Camp wiki.









Thursday, June 28, 2012

BFBC XIV: What to Bring to Seattle


For the "newbies" this year and as a reminder for the "seasoned veterans," here is a list of things to bring to the workshop.
  • Music stand
  • Flutes (if you have more than one flute, bring it/them; there is usually a contingent of 392 Hz flutes; penny whistles and trad flutes are welcome too; see schedule for Trad/Irish events)
  • Workbook
  • Repertoire from the list (now on Wiki)
  • Solo music
  • Other music, outside of the assigned, because impromptu duets and trios can happen at any time, even if it seems as if there is NO spare time, there always is. 
  • 3-ring binder with at least 3 tabs
  • Small post-it notes
  • Pencils, highlighter (optional)
  • Something on which to take notes during masterclass
  • Light jacket
  • Flute maintenance kit (beeswax, electrical tape, silk thread, super glue, small piece of neoprene, etc.)
  • And most important: the HAWAIIAN SHIRT for Thursday. 
  • Remember: Thursday is Hawaiian Shirt Day.

Thursday, June 21, 2012

BFBC XIV Daily Schedule!


The BFBC XIV Schedule

MORNINGS (09:00-12:00): 
Below are the keys we will work in each morning and also some pieces to look at for warming up your fingers in those keys.  These pieces are not for performance, but we will be looking at them together in class.

·         Monday:  Focus will be on F Major / d minor  -   #18, #26 of Quantz Capricen;  Telemann Fantasie #6 in d minor
·         Tuesday:  Focus on Bb Major / g minor  -  #14, #37 (don't forget to turn the page!) of Quantz Capricen;  Telemann Fantasie #4 in Bb Major;   Fantasie #12
o   **Extra credit for Bb Major: Ich Folge Dir from St. John Passion**
·         Wednesday:  Focus on Eb Major / c minor  -  #32, #38, #59 of Quantz;  WF Bach duet in Eb Major; 
o   NB: Teacher's Pet Award Compulsory Rep for 2012:  2nd mov't from JS Bach's 'Musical Offering' Trio Sonata (emphasis on notes, tuning, and tone focus; not tempo-based, thus giving everyone an equal opportunity for this pain-based event). Score available on Wiki.
·         Thursday: Focus on A Major / f# minor - Telemann Fantasie no. 1 in A; no. 10 in f#; Quantz Caprice no. 34 and 40;
o   extra credit: mvt. 1 or 3 or J.S. Bach A major sonata
·         Friday: Focus on E Major / c# minor - Telemann Fantasie #9; Quantz Caprice, no. 41; J. S. Bach E major sonata, any movement.

AFTERNOONS/EVENINGS:

Monday:
·         13:30-15:00     Flute ensembles
·         15:30-17:00     Ornamentation session - Quantz and Telemann as models, maybe a little Blavet Op. 3
·         19:00-21:00     The Low Down - Flute Ensembles at A 392  (Maybe few Irish tunes)

Tuesday :
·         13:30-15:00     Flute Ensembles
·         15:30-17:00     Solos by those who want to play for the rest of us
                               Mini lessons from either K or J (3 people)
·         19:00-21:00     Yoga for flutists and Peter Noy on building flutes

Wednesday: 
·         Afternoon off     (Faculty rehearsal)
·         19:00-21:30     The Dragon Jam Session (Baroque flute orchestra, assorted solos with continuo, etc.)

Thursday: (Hawaiian Shirt Day)
·         13:30-15:00     Flute ensembles
·         15:30-17:00     Session on Preluding and 3 private mini lessons
·         19:00-21:30     Faculty Recital

Friday: 
·         13:30-15:00     Flute Ensembles
·         15:30-17:00     Solos by those who want to play and also 3 mini lessons
·         19:00-21:00     Celtic Cacophony (Irish night)

Saturday:
·         09:00-10:00     Final Group Warm Up, Technical Review, etc.
·         10:30               Concert prep, rehearsal, etc.
·         11:00               Student Concert:  A mixture of solos and flute ensemble piece

Boot Camp group lunch, location TBA, time depends on when the recital is over.

N.B.: Lunch every day at 12:00; Dinner every day at 17:00 (Wednesday and Saturday excepted)

The PDF of this is available on the wiki in the Workbook folder. 

Monday, June 18, 2012

Boot Camp Schedule and Format Coming Soon!

Hello Everyone,

As soon as Kathie and Janet finish the agenda (sometime this week, I believe), it will be posted here and on the wiki.

Also, the wiki will soon have a folder called "Bios" where I encourage you all to post a bio of your self, your musical life, your non-musical life, whatever, so that everyone in the workshop will know something about you before you get there.

This year we have two (2) brand new workshop participants, as well as a couple of folks who are coming back after a brief absence.

I've seen a draft of the workshop agenda and it appears that the spa-like atmosphere that ran rampant on my watch will be but a fond memory under the tutelage of Commanders See and Stewart . . .

More soon.

kp